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Classical Music from the Late 19Th Century to the Early 20Th Century: the Creation of a Distinct American Musical Sound

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Classical Music from the Late 19Th Century to the Early 20Th Century: the Creation of a Distinct American Musical Sound Portland State University PDXScholar Young Historians Conference Young Historians Conference 2019 May 1st, 12:30 PM - 1:45 PM Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound Ashley M. Christensen Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Music Theory Commons Let us know how access to this document benefits ou.y Christensen, Ashley M., "Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound" (2019). Young Historians Conference. 13. https://pdxscholar.library.pdx.edu/younghistorians/2019/oralpres/13 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. CLASSICAL MUSIC FROM THE LATE 19th CENTURY TO THE EARLY 20th CENTURY: THE CREATION OF A DISTINCT AMERICAN MUSICAL SOUND Marked by the conflict of the Civil War, the late 19th century of American history marks an extremely turbulent time for the United States of America. As the young nation reached the second half of the century, idle threats of a Southern secession from the union bloomed into an all-encompassing conflict. However, through the turbulence of the war, American music persisted. Strengthened in battle, the ideas of a reconstructed American national identity started to form a distinctly different American culture and way of life. This is reflected in the nation’s shift in the music written after the war. Previously the Americans had followed the European standard which was centered on the old, primarily tonal, rules for composition. While these strict set of guidelines had been followed for much of the lifetime of classical music, Americans began to break away from the established standard. The strides made during the late 19th century, which followed into the early 20th, began laying the base for other distinctly American styles in the future. Given the climate of the era, the shifting of popular culture was inevitable. With massive upheaval in societal standards and ways of life of the ordinary American during this period, the only possible response was a corresponding shift in culture. In this way, the Civil War marked an era of rebirth in the American nation and in its music. During this period, American music evolved and adapted to the turbulent path of the nation as it never had before. For even as the United States had previously fought to separate itself from the influences of Europe, compositions during the previous wartime eras continued to be influenced by distinctly European voices. 1 Heavily reliant on the groundwork placed by their predecessors and countrymen, European settlers had brought the music of their homelands with them to America. This established a firm basis upon which American music grew over its early years. As the nation neared celebrating a century of independence, this dedication and reliance on the styles and practices of the Old World had still not wavered. So as Americans further explored the European musical landscape, creating an infrastructure and audience for classical music from across the globe, they also created the infrastructure to support their own great composers. In order for the works of European composers to spread across America, they first had to be heard. To accommodate this, America began to gather its own “skilled singers and players,” building “schools and conservatories for training them” as well as “suitable concert halls and theaters” to host their performances. 2 However, this infrastructure was difficult and costly to maintain and required a dedicated musical audience as the United States had never seen before. 1 Steven Banfield, J.W. Ross, P.V. Bohlman, W. Brooks, M. Broyles, D. Cockrell, N. Cooke, J.C. DjeDje, D. Joyner, K.V.W. Keller, J. Koegel, V.L. Levine, J. Magee, D. Nicholls, S. Peles, K.K Preston, R. Radano, L. Starr, and R. Walser, Edited by David Nicholls. The Cambridge History of American Music (Cambridge: Cambridge University Press, 1998), 34-37. 2 Richard Crawford, America’s Musical Life: A History (New York, W. W. Norton & Company, Inc., 2001), 351. 2 Previous American audiences had been mainly relegated to church services and the pastime of the wealthy elite. The music that was written for churches and services during this period was widely distributed for both four part choir and string quartets. One such example of this four-part music is William Billings’ “Shiloh.” 3 Written originally for choir, the soprano, alto, tenor, bass style of the piece made it easily accessible to church choirs. Written as a piece to be sung at Christmas time, Billings’ intent with “Shiloh” follows the spiritual nature of much of America’s early music. This style and spiritual focus had its roots in the European tradition of choral and church music. In many ways, Billings followed this tradition of classical European choral pieces, as it can be analyzed in a similar manner. 4 Analysis of “Shiloh” can be split into two primary methods, Roman numeral analysis and the chord progression. 5 Both the chords and progression follows a majorly tonal style, popularized in European classical music. Given his reliance on the traditional European style, Billings failed to break any conventions of the old standard of classical music. A majority of music written for church choirs and ensembles followed this tonal style, and by doing so, classify as in the classical European canon of music of the period. 6 3 William Billings, “The Suffolk Harmony”, “Shiloh”. Boston: J. Norman, 1786. 4 This pattern of tonal analysis follows that which is outlined in the first ten chapters of Tonal Harmony. For further information on the subject and this method of analysis, refer to: Stefan Kostka and Dorothy Payne, Tonal Harmony, 5th Ed. (New York: McGraw-Hill Companies), 2004, pgs. 16-151. The seventh edition of this textbook can also be referenced with few dissimilarities to the 5th. 5 Further analysis of “Shiloh” can be found in the appendix on the attached sheet music for Billings’ “Suffolk Harmony”, “Shiloh”. 6 For more information on the tonal style, reference the later chapters of The Oxford History of English Music, which provides a framework for the guidelines European tonal music followed during this period as well as its progression through the early 20th century. John 3 The first group of composers to bid for the attention of the American public during this period was the First New England School. Centered in Boston, this small collection of tight-knit composers consisted of several of the most renowned Americans in the field. Even as well- known American composers, the members of the First School had very little influence outside of the United States. Due to the lack of prominent or successful American composers in the era, this was the case for many Americans during the first century of American independence. As remarked by William Henry Fry, a member of this first school, art composers “were rare, even in the largest cities” of America. 7 In discussing to the art composer, Fry referred to those who followed the common style of composition at the time as well as to well-trained American composers. He further commented on the state of American composition in stating that “by composers we do not mean the writers of ‘sheet music’ any more than we would call poets the fillers-up of the corners of a village newspaper”. 8 These composers began to break the absolute dominance of European classical music styles in the American landscape. Yet even as American infrastructure and interest began to grow under the First New England School, the American musical style had not yet come into its own. Regardless of their lack of deviation, this group of composers began a tradition of strong composition and collaboration that was notably centered in Boston. These “talented, professionally trained, energetic, and idealistic” composers flourished in the environment of Boston “because of the excellence of its composers, schools, performance opportunities, and a Caldwell, The Oxford History of English Music Volume 2: c.1715 to Present Day (Oxford: Oxford University Press,1999), 382-391. 7 Nicholas E. Tawa, The Coming of Age of American Art Music: New England’s Classical Romanticists (New York: Greenwood Press, 1991), 1. 8 Ibid. 4 social milieu that encouraged fellowship among composers.” 9 Unlike a good deal of America at the time, this environment had been long fostered in Boston as it had gradually developed its own infrastructure for musical performance. While many other larger metropolitan areas, like New York City, held a similar draw for composers, the unique culture and musical landscape of Boston was especially hospitable to the native-born composer during this period. This tradition held true from the antebellum culture of Boston to its post-war Reconstructionist attitude. Music from this period is based primarily in European models of the parlor song. Usually written for piano with occasional vocal accompaniment, the parlor song became dominant in American musical circles and the high society culture in which it originated. One such piece of parlor song during this time was Edward MacDowell’s collection of short movements called “Woodland Sketches.” 10 An American-born composer, MacDowell’s work became highly influential after his time in the First New England School. In his “Woodland Sketches” the most notable and popular of the ten movements was “To a Wild Rose,” a piece for solo piano with no vocal accompaniment. Being his most influential work it lent itself well to an overall idea of the compositional styles and structure the First New England School followed.
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